Dissertations / Theses on the topic 'Mythopoesis'
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Tseng, Chen-chen. "Mythopoesis historicized : Qu Yuan's poetry and its legacy /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/6688.
Full textBittarello, Maria Beatrice. "The re-creation of ancient classical religions on the World Wide Web : Neopaganism as contemporary mythopoesis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/226.
Full textAshurst, Gail. "In the footsteps of 'The Wicker Man' : personal mythopoesis and the processes of cult film fandom." Thesis, Manchester Metropolitan University, 2009. http://e-space.mmu.ac.uk/556462/.
Full textDavid, William M. "The Mythic Conquest of Time in Faulkner's Fiction." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1420.
Full textMorgan, Harry. "Formes et mythopoeia dans les littératures dessinées." Paris 7, 2008. http://www.theses.fr/2008PA070103.
Full textOur thesis elaborates upon a previous scholarly work (Harry Morgan, Principes des littératures dessinées, Editions de l'an 2, 2003). Our aim is to contribute to an empirical theory of comics (a stripology), which places the rhetorical devices found in comic book or comic strip stories in the wider context of visual narrative but also in the narrower context of the relevant editorial form, such as a book, a print, a daily newspaper, a periodical publication (such as a weekly), etc. The analysis is centered on the interaction between the physical, semiotical, and editorial constraints of the comic narrative and the contents of the stories. This leads not onty to an examination of the peculiarities of the fictional worlds of comics, but to a wider understanding of the laws that govern such worlds. It is suggested that such a definition of an imaginary world by the formal characteristics and the narrative mechanisms of the comic form is a function of a mythopoetic potentiality of comics. The Sunday page of Zig et Puce by Alain Saint-Ogan, the newspaper strip Little Orphan Annie by Harold Gray, thé comic book The Fantastic Four by Jack Kirby and the entire œuvre of Jean-Claude Forest are examined in detail
Coyer, Gilbert. "Messager sans message : traité de psychothérapie interculturelle." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20063.
Full textThis work is based on the longitudinal observation of 14 children treated with psychotherapy, seen in family consultations with interpreters or mediators, supported in their social and school environment and in some cases, admitted to day hospitals. Most children are of African origin, with families that simultaneously looked for traditional treatments. The bifocal character of these follow-ups – individual and environmental – allows for epistemological questioning in both of the respective fields – psychological and social – and in their articulation. It involves, in order to avoid the pitfalls of relativism or semantic confusions, a more profound analysis of the notions of complementarism and antagonistic acculturation as they have been formalized by Devereux, and developed in the case of acculturation, by certain sociologists such as Bourdieu and Sayad, or from the perspective of paradoxes that result, of the work of Winnicott, Roussillon, Bateson and certain cognitivists. These conjoined and long clinical follow-ups lasting from three to ten years underline the numerous interfaces between the problematics of the treated children and the family and social fields implicit in the cultural treatment of their illness. As such, the reflection about these intercultural psychotherapies supports work already engaged by other clinicians on the articulation between intra- and inter-subjectivity and on therapeutic mediations. It allows for a more profound examination of meaning of the notions of symbolization, translation and transitional space, following the work of Roussillon, Berman and Winnicott
Olaveson, Tim Ian. "A symbolic anthropological analysis of the mythopoetic men's movement." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0010/MQ26936.pdf.
Full textOlaveson, Tim Ian (Tim Ian Joseph) 1971 Carleton University Dissertation Sociology and Anthropology. "A Symbolic anthropological analysis of the mythopoetic men's movement." Ottawa.:, 1997.
Find full textGorelick, Adam D. "The Enchanter's Spell: J.R.R. Tolkien's Mythopoetic Response to Modernism." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1022.
Full textHargrave, Rachel Irene. "Cartoon Saloon as Mythopoeic: Reimagining Irish Mythology through Animation." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104103.
Full textMaster of Arts
Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, has released a trio of films centered on Irish folklore. These films explore Irish history, mythology, and tradition through several time periods and explore themes of liminality and coming of age. Secret of Kells, the first film, explores the Abbey of Kells and the creation of the Book of Kells through the eyes of Brandon, a young monk learning to find his place in the Abbey. He encounters a fairy girl and learns that there is more to his world than the Abbot had taught him. The second film, Song of the Sea, is set in modern times and tells the story of Ben's adventure to save his sister, who is half-selkie. The final film, Wolfwalkers, explores Kilkenny during English occupation through the adventures of Robyn, a young English girl who is turned into a wolfwalker and learns about the magic present in the Irish countryside. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.
De, La Lama Luis. "Creating a Mythopoeic Graphic Novel To Expand Self-Understanding." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5622.
Full textKorpua, J. (Jyrki). "Constructive Mythopoetics in J. R. R. Tolkien's Legendarium." Doctoral thesis, Oulun yliopisto, 2015. http://urn.fi/urn:isbn:9789526209289.
Full textTiivistelmä Väitöskirjani käsittelee konstruktiivista mytopoetiikkaa J. R. R. Tolkienin legendaariossa. Työ keskittyy ennen kaikkea mytopoeettiseen logiikkaan ja elementteihin, joiden kautta Tolkienin tekstit ja hänen luomansa fantasiamaailma rakentuvat. Tutkimukseni muodostaa Tolkienin fiktion luennan, joka osoittaa, että Tolkienin legendaariolle voidaan löytää mytopoeettinen koodi. Tämä koodi havainnollistaa, että Tolkienin mytopoeettinen fiktio luo koherentin ja uskottavan kokonaisuuden kielen, myyttien sekä inter- ja intratekstuaalisten vaikutussuhteiden kautta. Tämä yhteenkuuluvuus ja koodi on nähtävissä, vaikka Tolkienin legendaarion osat ovat keskenään perin erilaisia, eri kirjallisuuslajeihin kuuluvia ja vaikka osa on julkaistu vain fragmentteina hänen kuolemansa jälkeen. Tolkienin mytopoeettinen logiikka ja luovan kirjoittamisen teoria näkyvät aina Silmarillion-teoksen kosmogonisesta luomismyytistä kevyen satumaiseen Hobittiin tai aina seikkailufantasiaan Taru Sormusten Herrasta. Tekijänä Tolkien näyttäytyy teoksissaan “alempana luojana” (sub-creator), joka kehittää myyttejä ja rakentaa fantasiamaailmaansa. Tolkienille Jumala on “ylempi luoja”, johon kirjailija vertautuu fiktion tasolla. Väitöskirjani tutkimuslogiikka seuraa Tolkienin legendaarion aikajärjestystä. Aloitan työni maailmanluomisesta, siirryn tämän jälkeen ns. pitkään tappioon ja haipumiseen sekä aina maailmanloppuun saakka. Luomisen teemaa käsitellessäni päähuomioni on sekä Tolkienin legendaarion teosten sisäisessä kertomuksessa että hänen kirjallisen luomisensa estetiikassa. Väitöskirjan loppupuolella käännän huomiotani myös lukijan “luomistyöhön” teoksia lukiessa. Käyttämääni teoreettiseen näkökulmaan ovat vaikuttaneet erityisesti Northrop Fryen konstruktiivinen kirjallisuusteoria sekä Benjamin Harshavin konstruktiivinen poetiikka. Käsittelyssäni ovat myös spekulatiivisen historiallisen epiikan metodit sekä hyvän ja pahan, kuolevaisuuden ja kuolemattomuuden, henkisen ja fyysisen sekä näkyvän ja näkymättömän vastakkainasetteluparit, ja ennen kaikkea se, kuinka nämä vastakkainasetteluparit ja elementit näyttäytyvät Tolkienin mytopoeettisessa visiossa. Tolkienin fiktion konstruktiivinen mytopoetiikka havainnollistuu metafyysisten ja temaattisten käsitteiden Luominen (Creation), Olemassaolo (Existence), Lankeamus (Fall) ja Ponnistelu (Struggle) kautta
Buchberger, Michelle Philips. "Metafiction, historiography, and mythopoeia in the novels of John Fowles." Thesis, Brunel University, 2009. http://bura.brunel.ac.uk/handle/2438/6558.
Full textLouw, Juanita. "Toorlelies (Portfeulje) & Mythopoeia in Marina Tsvetaeva's after Russia (Essay)." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/6801.
Full textPhillips, Leah Beth. "Myth (un)making : the adolescent female body in mythopoeic YA fantasy." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87296/.
Full textJeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
Full textKaradas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.
Full textsecond, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.
Homsher, Robert S. "Mythological apocalypses eschatological mythopoeic speculation of the combat myth in biblical apocalyptic literature /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p050-0135.
Full textBurr, Gareth. "Eshawa! : vision voice and mythic narrative; an ethnographic presentation of Ese-eja mythopoeia." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339782.
Full textRumbold, Matthew Ivan. ""Freelance mystic": individuation, mythopoeia and metafiction in the early fiction of Russell Hoban." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1004455.
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Kolesnyk, Olena. "Human and cosmic truth in William Shakespeare’s interpretation." Millenium, 2014. http://hdl.handle.net/10150/323559.
Full textBuchanan, Travis Walker. "Truth incarnate : story as sacrament in the mythopoeic thought and fiction of C.S. Lewis and J.R.R. Tolkien." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7860.
Full textKhoyratty, Farhad. "Beneath the red dupatta: an exploration of the mythopoeic functions of the ‘Muslim’ courtesan (tawaif) in hindustani cinema." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/326464.
Full textAfter acting as a staple myth of the Hindustani cinema text almost continuously from the 1920s and nearly the start of Indian film-making to the late 1990s, with its heyday in the 1960s - 1980s, the courtesan as motif starts ebbing away in the new century, but keeps re-appearing, sometimes obliquely and sometimes directly as postmodern revisiting, brief ‘cameo’ acts, nostalgic clin d’oeils, or as remakes. In fact, as an underlying unconscious myth, the tawaif persists, but as a more general avatar, as a structure that gives rise to a variety of manifestations: the ‘item girl’, the vamp, today’s independent girl or more directly, the tradition of entertainment the historical tawaif carries, informs the narrative structure of Hindustani cinema in terms of Urdu poetry in song lyrics, and dance performance, classical or modern choreography. Above all, the Hindustani cinematic text itself is and has been a tawaif-life performance, inviting the gaze, acting – as any industry – with economics in mind and cultural transformation as manifestation. As with the tawaif’s performance, the subversive is watered down with concessions to bourgeois family values and economic priorities. I start with an exploration of the historical tawaif, especially of Lucknow, in 19th century India. I delve into the context of her everyday life, astride worlds of extreme subtlety (tehzeeb) and art, and the sordid world of prostitution. Receptions to the moral undecidability of her world have been predictably hostile. A common self-righteousness made, within a variety of spatial and temporal contexts, strange bedfellows of the British, of Mahatma Gandhi, of Nehru, of the Hindu extreme-right and the Muslim fundamentalist, of many feminists when it came to closing down the world of the tawaif and its dislocation into a body versus mind heritage. The refusal of most periods to envisage sexuality and refinement, or to conjugate sexuality and purity, or to explore women as victims of a patriarchal structure whereas the men who benefit from it are excused, have made of the historical tawaif a subaltern despite her cavorting with royalty. In line with Judith Butler, we assess her identity not as being but as becoming, mostly as a locus of nostalgia, a temporal relationship of natality/morbidity, and, narratively, as scapegoat, the ‘goat’ offered to sacrifice for the good of the polis. As with any manifestation of the unconscious, the mythological cannot be retrieved directly, but metaphorically, metonymically and retrospectively. The courtesan’s presence/absence uncovers the dynamics of her performance by the Hindustani cinema text, her function in the filmic text and more generally in the social context. In fact, one can argue, the courtesan is present through representations of women and patriarchal structures in Hindustani cinema but more generally, in terms of relations of power. Hindustani cinema carries the myth of the courtesan, but in many ways it is the courtesan who carries Hindustani cinema. The historical courtesan pre-dates Hindustani cinema, but somehow the tradition of entertainment she carries informs the narrative structure of Hindustani cinema. Hindustani cinema’s ethico-ideological stances also show many mise-en-abyme correspondences with the world of the courtesan as entertainers. I use Cultural Studies in my investigation as complemented by feminist film theory, especially when concerned with spectatorship and identity-construction.and other critical theories.
Langwith, Mark J. "'A far green country' : an anlaysis of the presentation of nature in works of early mythopoeic fantasy fiction /." St Andrews, 2007. http://hdl.handle.net/10023/313.
Full textLangwith, Mark J. "'A far green country' : an analysis of the presentation of nature in works of early mythopoeic fantasy fiction." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/313.
Full textPsathas, Barbara Ann. "The quest for completion an evolving mythopoeia in the writing of Thomas Hardy, D.H. Lawrence, and John Fowles /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.
Full textSource: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as, preliminary leaves [2-3]. Includes bibliographical references (leaves 109-112).
Lauro, Reno E. "Beyond the colonization of human imagining and everyday life : crafting mythopoeic lifeworlds as a theological response to hyperreality." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3207.
Full textRothgiesser, Stuart Leon. "Men's issues, men's solutions : the effects of a South African mythopoetic men's group's activities on gender equality: 2004-2005." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10938.
Full textIncludes bibliographical references (leaves 83-87).
Mythopoetic organisations are popular among largely middle-class (elite) men in well-resourced countries. These organisations have sprung up in the last twenty years to create a space where men come together to address issues of masculinity. Many pro-feminist writers have questioned the capacity of mythopoetic men’s groups to promote gender equality. They see them as more likely to provide support for, rather than undermine, patriarchy.
Johnson, Matthew. "An Ethnography of the Bay Area Renaissance Festival: Performing Community and Reconfiguring Gender." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3509.
Full textKhan, Steven Kamaluddin. "Rehearsing a maroon mythopoetics in mathematics education through consideration of an artefact of mathematics popularization (the pedagogical film All is Number)." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43490.
Full textLevin, Christoffer. "The Hero’s Journey in J.R.R. Tolkien’s The Hobbit, or, There and Back Again : Using Joseph Campbell’s Narrative Structure for an Analysis of Mythopoeic Fiction." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-21253.
Full textKlautau, Diego Genu. "Paideia Mitopoética: a educação em Tolkien." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1873.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis is a systematic exposition of the theory of the education existent in the production of J.R.R Tolkien, that we call of Mythopoetic Paideia. From a phenomenological hermeneutics of its works of philological medieval poem analysis, of its theoretical assay on literature, its mythopoetics novels and its personal letters, we systemize a theory of the composed education of clear concepts of subject, object and method. In this theory, there is an anthropology that dialogues with the philosophical tradition Greek, the patristic and the scholastic, and that it is harmonic with the phenomenology of century XX; in the same way, the basic object is the sacred, understood as category of sciences of the religion, in historical and noetic key, that if express through the sacred narratives, either in the forms of the alive myth, either in the forms of the mythical reminiscences of the epic poetry or the modern romances of fancy. The method is the myth manufacture as form of meditation of the reading of texts of religious traditions, as well as the dialogic sharing with a group, that culminates in the publication of the manufactured workmanship. Thus, the subject that is open to the experience of the totality of the Being through the hierofania through poetical or literary narrative, through a method that integrates tradition, communion, creativity and work, makes acquaintance with the founding object of the conscience and the culture: the sacred
Esta tese é uma exposição sistemática da teoria da educação presente na produção de J.R.R. Tolkien, que denominamos de Paideia Mitopoética. A partir de uma hermenêutica fenomenológica de seus trabalhos de análise filológica de poemas medievais, de seu ensaio teórico sobre literatura, de seus romances mitopoéticos e de suas cartas pessoais, sistematizamos uma teoria da educação composta de conceitos claros de sujeito, objeto e método. Nessa teoria, existe uma antropologia que dialoga com a tradição filosófica grega, com a patrística e com a escolástica, e que é harmônica com a fenomenologia do século XX; da mesma forma, o objeto fundamental é o sagrado, entendido como categoria das ciências da religião, em chave histórica e noética, que se expressa através das narrativas sagradas, seja nas formas do mito vivo, seja nas formas das reminiscências míticas da poesia épica ou dos romances de fantasia modernos. O método é a fabricação de mitos como forma de meditação da leitura de textos de tradições religiosas, assim como o compartilhamento dialógico com um grupo, que culmina na publicação da obra fabricada. Assim, o sujeito aberto à experiência da totalidade do Ser através da hierofania via narrativa poética ou literária, através de um método que integra tradição, comunhão, criatividade e trabalho, se relaciona com o objeto fundador da consciência e da cultura: o sagrado
Araújo, Miguel Almir Lima de. "Feixes de arco-íris: uma compreensão ontológico-policrômica da sensibilidade e sua fruição no fenômeno do educar." reponame:Repositório Institucional da UFBA, 2006. http://www.repositorio.ufba.br/ri/handle/ri/11069.
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As meditações que descortino na tese emergem das in-tensidades de minhas inquietudes e espantamentos diante dos fenômenos do existir e da ação de educar; apresentam ?Uma compreensão ontológico-policrômica da Sensibilidade e sua fruição no fenômeno do educar? numa mirada Filantropoética. Mirada que busca entrelaçar o elã do filosófico-antropológico e a cromaticidade do poético vislumbrando a polifonia e a policromia dos Sentidos pregnantes e anímicos da temática. Dessa forma, apresento a Sensibilidade (Sensus) como estado de dis-posição, de abertura vasta de nossos sensos perceptivos (afeccionais e noéticos), em que corpo e espírito coexistem, de modo co-implicado, para uma compreensão e uma vivenciação policrômicas dos Sentidos do existir e do co-existir humanos; como estado de despojamento do espírito inventivo e altaneiro, do pathos criante e co-movente, para a vivência do sentimento do mundo, do ser-sendo-com-os-outros, das in-tensidades da complexidade e das ambigüidades da condição humana. Nesse horizonte compreensivo, a Sensibilidade se constitui desde os fulcros magmáticos da Corporeidade, da Intuição, da Afetividade, do Mitopoético e da Razão-Sentido. Fulcros estruturantes que se enredam de modo recursivo e entrelaçado. Em seguida, apresento meditações que compreendem o fenômeno do educar como ação teóricovivencial que implica na fruição da Sensibilidade. Para tanto, me inspiro, tanto nas ressonâncias das vozes de diversos estudantes que emergem de escutas sobre o vivido/vivente, como no estofo das incursões teóricas. Assim, apresento meditações acerca do educar compreendendo-o como um rito vivo de iniciação que se traduz em processos in-tensivos de con-dução aos saberes e sentires que constituem o dinamismo do ethos; no cuidado com a inteireza androgínica do ser-sendo-com no advento dos valores humanos primordiais, dos Sentidos anímicos, do cuidado com a Sensibilidade. Por fim, como ?Arremates inconcludentes?, propugno que, ao primar pela fruição da Sensibilidade, a ação de educar se desdobra numa Pedagogia do encantamento como se-ducere que implica no jorrar do pathos criante, do admirante, do elã vital, do espírito altaneiro e audaz; que envida apaixonamento e entusiasmo, laços de simpatia e de empatia; que conduz a fruição dos Sentidos pregnantes e anímicos no desbordar dos feixes do arco-íris que alumbram e revelam as policromias da poeticidade do existir, do co-existir.
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Wanzeler, Egle Betânia Portela. "O pensamento sensível nos entre-lugares da ciência: a experiência de formação de professores indígenas em São Gabriel da Cachoeira/AM." Pontifícia Universidade Católica de São Paulo, 2012. http://tede2.pucsp.br/handle/handle/2355.
Full textFundação de Amparo à Pesquisa do Estado do Amazonas
This work refers to a reflexive analysis over an indigenous teacher‟s education experience, in which it was established an educational praxis inspired in the complexity and transdisciplinarity operators. It consists of the construction process of a matrix towards an epistemological and methodological exploration implied in these operators. Methodologically, this work was developed through ethnographic research. The research tried to establish pertinent dialogues between two cognitive operators: sensible thought and scientific thought, inherent to the educational context. The empiric field of this research was the educational experience itself that was developed in the Estágio Supervisionado (Supervised Internship) and Prática da Pesquisa Pedagógica (Pedagogic Research) disciplines. Furthermore, this work tried to institute bounds between the mythical and cosmological universe of the individuals in the research and insert them in the experience as constituents of education and learning. At last, it comprises a research inspired by the experience on what has been sensed and lived, nurtured by sensibilities, imaginaries, intuitions, wisdoms, ethics and aesthetics
Este trabalho refere-se a uma análise reflexiva acerca de uma experiência de formação de professores indígenas, por meio da qual se procurou estabelecer uma prática de formação inspirada nos operadores da complexidade e da transdisciplinaridade. Trata-se do processo de construção de uma matriz de exploração epistemológica e metodológica implicada nesses operadores. Metodologicamente, este trabalho foi desenvolvido por meio da pesquisa etnográfica. A pesquisa buscou estabelecer diálogos pertinentes entre dois operadores cognitivos: pensamento sensível e pensamento científico, inerentes ao contexto da formação. O campo empírico da pesquisa foi a própria experiência de formação que se desenvolveu nas disciplinas Estágio Supervisionado e Prática da Pesquisa Pedagógica. Além disso, o trabalho procurou estabelecer vínculos entre o universo mítico e cosmológico dos sujeitos da pesquisa e inseri-los na experiência como conteúdos de ensino e de aprendizagem. Enfim, trata-se de uma pesquisa inspirada pela experiência do sentido e do vivido, a qual se procurou nutrir de sensibilidades, imaginários, intuições, sabedorias, ética e estética
Perrier, Marie. "Mythopoétique chez Lord Dunsany et H.P. Lovecraft : transmission et traduction(s)." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H016/document.
Full textThis dissertation stands at the crossroads of translation and literary studies and focuses on the case of two fantasy authors, Lord Dunsany and H. P. Lovecraft. One having inspired the other, they are both creators of fictional worlds marked by made-up cosmogonies, dream visions and fantasy journeys. Through comparison and contrast, we propose to highlight how the mythopoeic approach which their stories stem from has also shaped the various translation and retranslation projects in France over the past century.From this perspective, this research elaborates on a broad conception of translation as rewriting and relies on sociological, cultural and stylistic approaches in order to analyse how these works and the myth they convey have been received and transmitted. Indeed, myth is born from the endless repetition and regeneration of stories and includes variation as a characteristic; the pleasure derived from myth comes from the readers recognizing a familiar story under a new garment, before passing it on in their turn.It then becomes possible to delineate the specificity of mythopoeic translation as regards to this particular facet of fantasy literature, and to establish a new vision of play within translation: these works, triggering both attachment and complicity in readers who become players of a game of transmission, ensure their reception in the French literary field and become text-worlds. Demultiplied, rewritten, shared, they translate an evergrowing desire for participative enchantment
Sweydan, Francois. "Recherches sur le système de représentations symboliques de l’art néolithique aux textes des pyramides- Origines et formation des éléments de la religion solaire de l’Egypte antique." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20009.
Full textSince the beginning of the first dynasties, the pictogram in writing was the extension of naturalistic figurative representations, logograms in the decorated funerary protodynastic palettes. This statement carry us to link them with the parietal art of Neolithic Nubia, the egyptian Predynastic, and peripheral cultural areas. We have reconsidered the petroglyphs as polysemic symbols and ideograms, i.e. mythograms as well polysemic logograms-phonograms, allowing us to draw up a structural system of symbolic representations, universal in the Nile valley. Basically funerary, the system is organised around a new reading in connection with the founding of the ‘Eye of Horus’/solar myths, and express itself in primitive Neolithic and Predynastic rites of revivification, rebirth, more explicit afterwards during the first dynasties on labels, votive cylinder-seals, and anointing the deads with the seven holy canonical oils, finally in the Pyramid Texts. Contrary to the common idea which opposite the Nature-Culture notions, there is some question to combine them, to reconcile the non-binary duality and to see, for example, the heliotrope functions and/or heliophore animals of the sub-Saharan bestiary, with Sokar the funerary hawk, the benevolent guarantors for the rebirth and metamorphosis of the sun/deads; otherwise felids, canids, antelopes…, invested by the numinous of the protecting divinities. In consequence of a new reading of the primitive ‘osirian’ myth of metamorphosis, we have reconsidered the conceptions about animal sacrifice on the basis of religious anthropology. Far from bringing under control and submission of nature, and diffusionnism, the intercultural (cross-cultural) of the first archaic mythic thought in the multi-ethnic nubian-egyptian valley and associated neighbouring areas involves, towards the natural world and the numinous spiritual strengths, the cross-cultural of solar conceptions and multicultural, trans-historic sharing of the polycyclic resurrectional believes. Thus, the animal petroglyphs, cynegetic scenes, boats and sandals representations, etc., are of funerary votive, apotropaic nature
Chen, Ying-jie, and 陳英傑. "John Keats’s Mythopoesis: Temporality, Melancholy, Allegory." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9j7qbs.
Full text國立臺灣大學
外國語文學研究所
106
This thesis examines the wishes and longings in John Keats’s narrative poems that are informed by their socio-historical situation, and argues that Keats’s literary aspirations belong to the second-generation British Romantics’ attempt to resuscitate energies that fuelled progressive politics in a period when the high hopes of revolution were dashed by post-Napoleonic despair. Keats’s mythological poetry is grasped concretely as a literary endeavor in the face of socio-historical adversity. And this thesis calls Keats’s process of writing mythological narratives his “mythopoesis.” Such a creative process reveals the subtle ways in which an imagination of the otherworldly in fact embodies a struggling, civilizing spirit. This thesis suggests a parallel with the myth of Prometheus. Chapter One investigates Endymion. While Keats concedes that this mythological romance suffers from inexperience and naivety, this vulnerability of the poem suggests a scarcely concealed utopian impulse, most notably at work in the fragile temporality of the eponymous hero’s quest. Endymion’s desperate embrace of his goddess, along with the unconvincing final resolution of the poem, gives rise to the feeling that Endymion cannot escape from the present; here, one finds an echo of Keats’s sensitivity to human suffering. Only through this tragic conception of life in time can a truly utopian hope be projected. In Chapter Two, this concern is further explored in Hyperion, where the melancholy of the gods expresses the poet’s misgivings about the liberal ideology of progress. Doubt leaves the epic attempt fragmented, and Keats goes on to compose The Fall of Hyperion, in which the visionary speaker’s fall into a melancholy awareness of mortality reveals a deepening of Keats’s utopian fantasy about a collective history. Chapter Three discusses Lamia, a sensational drama about a serpent-woman’s love affair that demonstrates a remarkable degree of libidinal and linguistic energy, which characterizes what Keats refers to as allegory in his letters. The serpentine movement of this romance demarcates the limitations of circumstances, in order to to gesture a potential way out of the historical impasse.
Verità, Massimiliano. "The sun is a girl mythopoesis in Mīrāl Al Tahāwī's Al Khibā' /." 2007. http://catalog.hathitrust.org/api/volumes/oclc/150566258.html.
Full textTypescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 90-94).
Lu, Tze-chiang, and 魯自強. "William Faulkner's Mythopoesis: Mythic Patterns in The Sound and the Fury and As I Lay Dying." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/37391678615412249752.
Full text國立臺灣大學
外國語文學系研究所
89
This thesis is an attempt to examine two of Faulkner’s representative works, The Sound and the Fury and As I Lay Dying, in the light of mythopoesis. That means, I elicit Faulkner’s extensive use of mythologies recorded in classical writings — Greco-Roman or Biblical — and the way he reconstructed the distinct myths symbolically into unified artistic works. The first introductory part of the thesis lays out Faulkner’s own mythic design of Yoknapatawpha County, by means of which he defined the nature of myth — that is to say, human life patterns — as well as the essence of the tragic. The revelation is based upon the belief that Faulkner reproduced the once-prosperous mythic kingdom, where the archetypal quest for the heroic stands still for the sweat and pain of human hearts in conflict. The second part is devoted to an analysis of Faulkner’s most controversial work, The Sound and the Fury in the mythological approach. I contend that the story is a romanticized version of the Edenic myth in the Hebraic-Christian culture. By establishing The Sound and the Fury as a chivalric romance of Man’s Fall, Faulkner attached importance to the moral battle of good and evil, representative of the Sartoris and the Snopes code of values at work in the Compson family. In this novel, finally, the struggle is made clear in the form of contending voices given to the unobtainable cause of ultimate salvation. The third part treats of As I Lay Dying as a medieval pilgrimage toward spiritual catharsis, carried out through contradictory heroic codes of honor of the Bundren family members. In re-defining the epic hero’s capacity for trials and tribulations, Faulkner works hard, again, on the basic meaning of the journey toward salvation when he juxtaposes flood and fire with personal greed as natural obstacles on the way. He skillfully internalizes the quest and expands the single meaningful experience into a mythic universality of symbolic weight. The last part of the thesis, functioning as conclusion, summarizes the techniques with which Faulkner universalizes his available mythological material and applies the resultant theme to some other major works of Faulkner’s. The crosscheck proves that almost all of Faulkner’s works can be viewed as a significant microcosmic record of human conflicts from the angle of mythopoesis.
Daas, Martha Mary. "A new view of Mester de Clerecia : myth and mythopoesis in the Milagros de Nuestra Señora and the Libro de Alexandre." 2002. http://hdl.handle.net/2152/10949.
Full textDaas, Martha Mary. "A new view of Mester de Clerecia myth and mythopoesis in the Milagros de Nuestra Señora and the Libro de Alexandre /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077520.
Full textHartley, William, University of Western Sydney, and College of Arts. "Boundaries of the soul : the mythic imagination, place and shamanic consciousness in literary form." 2008. http://handle.uws.edu.au:8081/1959.7/42224.
Full textDoctor of Philosophy (PhD)
Chia-Hsuan, Kao. "Translation and Mythopoetics: Seamus Heaney's Irish Pilgrimage." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0002-2706200512525200.
Full textKao, Chia-Hsuan, and 高家萱. "Translation and Mythopoetics: Seamus Heaney''s Irish Pilgrimage." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/12184624089018323767.
Full text淡江大學
英文學系博士班
93
Abstract:This dissertation studies Seamus Heaney’s poetic art in Station Island (1984). Known as St. Patrick’s Purgatory, Station Island in Lough Derg, Northern Ireland is a geographical and textual site for Heaney’s three-day literary and cultural pilgrimage, starting from his “looking back.” In the title poem of “Station Island” from this collection, Heaney interrelates his pilgrim voice with the voices of his literary masters and his Ulster neighbors, both the living and the dead, to reinscribe a cultural location; such a device makes his pilgrimage not only the poet’s devotional practice but provides a textual site for the medieval to become modern, the diachronic to become synchronic, and most importantly, the provincial to become apocalyptic. The poetic “pilgrimage” as word and traditional genre forms a textual unity constituted of transforming and transmitting moments that mythopoetically liminalize and hybridize cultural and literary “others.” Using Mikhail Bakhtin’s concept of novelistic language, I demonstrate how Heaney, through his intertextual dialogue with non-Irish literary souls on Ulster ground practices kenoticism and carnivalization of inherited literary and religious values--Catholic, Dantean, medieval and druidic—to revaluate the social and cultural conflicts known as the Northern Ireland “troubles.” Making his articulation distinct from that of modernists like T.S. Eliot, James Joyce and even W.B. Yeats, Seamus Heaney derives the technique of hybridized narrative from his understanding of translation as part of literary creation. Through two significant translations into modern English, the Celtic medieval Buile Suibhne as Sweeney Astray in 1984 and the Anglo-Saxon epic of Beowulf in 1999, Heaney challenges the conservative concept of translation. Making translation as an aspect of his poetics into a “voice right” implicates cultural hybridization and re-contextualizes historical social conflicts, repositioning them as textual dialogues. Chapter One introduces Heaney’s insight on epic as a creative genre, his view on Catholic pilgrimage as part of Celtic experience, his translations of the Anglo-Saxon Beowulf epic as his own Irish “voice right,” the adoption of the legendary Sweeney figure as a poetic persona, and Heaney’s motivations for having literary dialogues with Dante, Joyce and Yeats. Chapter Two studies the theme of pilgrimage in the translation Sweeney Astray and heteroglossia in the transgressive translation of Beowulf. Chapter Three is concerned with how Heaney structures his Ulster pilgrimage in the title poem “Station Island” as a hybridized narrative of Celtic dinnseaschans and of modernist kunstlerroman. Here Bakhtin''s concept of speech genre and Edward Said''s concept of cultural affiliation are used to clarify Heaney''s literary transmigration. Chapter Four uses Bakhtin''s kenoticism and Said''s contrapuntal readership to understand Heaney''s mythopoetic dialogues with other literary figures. In the last chapter, I conclude with a translation-as-creation to his translation as cultural hybridization. To Seamus Heaney, pilgrimage is a purgatorial fire of filiation and affiliation, forging hybridic forms that textualize his native Northern Ireland. The Irishized English "Station Island" is hybridic articulation in extremis: the most innovative with the most traditional, the most Celtic with the most Catholic. Heaney''s literary pieties reconstruct local identity in religious seriousness.
Su, Hung-Chi, and 蘇弘麒. "Tolkien and Myth: Probing from Mythology into Tolkien's Mythopoeia." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/84635771302320783179.
Full text國立東華大學
創作與英語文學研究所
95
Abstract The thesis examines Tolkien’s mythic creation and its intertextuality with Christian elements and Norse mythology. Tolkien is unique among many fantasy writers by his narrative artistry that fully develops the dimensions of mythic time and space, known as the Secondary World. Being a philologist, he creates his legendarium with invented languages. His Catholic background infuses religious spirit into his creation. For example, his major works, Silmarillion and The Lord of the Rings, reveal his religious passion and literary innovation. Besides these religious elements, the Norse mythology is a major source for the mythmaker. Like Wagner, the fascination with and immersion in the Norse myths and legends also enrich Tolkien’s magnum opus. Instead of retelling ancient stories in modern language, Tolkien’s legendarium restores to the English the epic tradition with their own mythology. His originality manifests the semantic unity, the essence of poetic diction according to Owen Barfield,. Tolkien’s mythic creation lets readers experience the “eucatastrophe” so as to gain reading pleasure. The missing link between language and its primal meanings is restored and revived through his narrative art. The thesis is divided into four chapters. Chapter one deals with the discussion on the dimensions of myth based on Richard L. Purtill’s categorization. Locating Tolkien’s works within the catalogues help further explore his writings in terms of myth. Chapter two and three tackle the issues of the intertextuality with Christian and Norse mythic elements. Biblical and Norse mythic themes are obvious in Tolkien’s works, especially in The Silmarillion. The resonance of pagan bravery with moderate Christian values seems contradictory, but Tolkien integrates them into a secondary harmony through his original mythopoeia. The last chapter brings to light Tolkien’s literary originality and importance through an investigation of his artistic invention in relation to the historical background.
Levin, Yisrael. ""O sun that we see to be God": Swinburne's Apollonian Mythopoeia." Thesis, 2008. http://hdl.handle.net/1828/1284.
Full textSlabbert, Mathilda. "Inventions and transformations : an exploration of mythification and remythification in four contemporary novels." Thesis, 2006. http://hdl.handle.net/10500/2267.
Full textEnglish Studies
(D. Litt. et Phil. (English))
Brawley, Christopher S. Burkes Shannon. "The sacramental vision mythopoeic imagination and ecology in Coleridge, MacDonald, Lewis, and Tolkien /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-11142003-012607.
Full textAdvisor: Dr. Shannon Burkes, Florida State University, College of Arts and Sciences, Dept.of Religion. Title and description from dissertation home page (viewed Feb. 25, 2004). Includes bibliographical references.
Kirkland, Kevin Harvey. "A grim fairy tale : a mythopoetic discorse on taboo, trauma and anti-oppressive pedagogy." Thesis, 2004. http://hdl.handle.net/2429/15866.
Full textEducation, Faculty of
Graduate
Wu, Cheng-Ing, and 吳政穎. "The Hybrid Poetics and Mythopoeia of Hayao Miyazaki’s Anime: Spirited Away, Howl’s Moving Castle, and Ponyo." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2tzvqu.
Full text國立東華大學
英美語文學系
104
This thesis analyzes Hayao Miyazaki’s authorial artistry by three case studies: Spirited Away (2001), Howl’s Moving Castle (2004), and Ponyo (2008). Regarding the narrative rendering and emplotment of the selected films, the thesis thematically revolves around hybrid poetics and mythopoeia. The first chapter examines how Miyazaki narrates Chihiro’s archetypal quest with elements of Shinto animism and a material imagination of water. The second chapter studies the interior of Howl’s castle as a means of representing the human mind; it examines the microcosmic function of the poetic space and its subsequent narrative persuasion with the macrocosmic context of war. The third chapter investigates Miyazaki’s reformulation of the ningyo archetype in Ponyo. The thesis analyzes the narrative whole of the selected films to describe Miyazaki’s persuasive artistry. With the mediation of hybrid poetics, Miyazaki’s idiosyncratic mythopoeia harnesses poetic concordance, which infuses the spectator with a cathartic energy during the spectating activity.